The Trouble With ValueWhat practices bring us closer to understanding the potential of art to represent different notions of value in the contemporary? How can we counter the certain apathy of the contemporary to engage with positions that resist this mood and present us with challenging perspectives on value? The project attempts to locate artistic and institutional practices that offer viewpoints beyond the strategy of blending-in and conforming to the rules.

Immovably CentredEverything just chucked away. Subsidy handed back. A total failure. Fine. Well done. Id like to know when youre not going to be a failure. If youre not. And whether Im going to witness it in this lifetime. So vain. So weak. So lacking in backbone. I have to keep the whole show on the road while you just sit upstairs crying at your desk, your tears staining what youre only going to scrunch up again any second and toss into the corner. On that laptop of yours.

Re-MagazineRe-Magazine's great virtue is its willingness to expose sentiments that seldom find public expression, most often relating to the apparently trivial experiences and memories that make up the larger part of existence. Alongside this editorial idiosyncrasy, it is beautifully designed and photographed, each issue adopting a form to suit its subject - Emily King, Frieze, October 2003.

Re-Magazine #12 (Hester)The door slammed behind us and we got locked out. We decided to deal with that later and first take the furniture down to the car. So we got into the lift with the filing cabinet and then the lift stuck. There was hardly anyone in this building, I was maybe one of only five people that had moved in. We were stuck in the lift for three hours and every time we heard a noise wed bang on the door. Eventually somebody came past and realised we were stuck and went to get help. When we got out of the lift we found out the car had been clamped while wed been stuck, which meant a penalty of 120 pounds.

Re-Magazine #10 (Claudia)At times, her intelligence left me speechless and her beauty left me breathless. Her overwhelming height of 1m98 and dazzling charisma makes Claudia a woman who is almost too big for this world. This is a story about Claudia's monumental size, breathtaking beauty, staggering intelligence, mind-blowing success and pure happiness. Claudia has it all and shes ready to share it with you.

Driving Miss PalmenI understand why you want to be a writer. Its better to be mediocre and famous than just being mediocre. But the difference between you and me is that Im able to create a character of myself in a story I choose to live in. And you, Im sorry to say, are not. That makes me a writer and you just a character in someone elses plot. And as for my work: The big misunderstanding about my work is that critics keep comparing the fictious Connie Palmen with the real Connie Palmen, instead of comparing her to other great characters in litterature, like Madame Bovary, or Lolita...

MarcelLadies and gentlemen, this is your captain speaking, earth has disappeared. As we will not be able to crash, we will continue flying until we run out of fuel. Well so do something about it youve been wining about it for years. Well. Halfway. Everythings fine. Stay calm. Come on guys whats the big idea? You know, these days when somebody on the street says sorry its a junky. You see you dont get it. Youre just a character in someone elses plot.

RetitledFor the last couple of years in a row, artists had been invited who felt at home in a big show environment. This had thrown up a number of lively and playful installations, but this year the budding tradition was in jeopardy: for a variety of reasons there was next to no money for art projects. The only kitty in the budget that might be called upon had been set aside for the printing of the half a million paper napkins that were to be used during the festival.

HesterIn the drawing, she has her head down because she was reading. Shes spent most of her life reading, its her way out of her depression. I remember being quite conscious of drawing her double chin, since she hates it. My mother hates the fact that shes losing her jawbone. I thought, No, Ive got to scrub it out. So I drew a shadow there. But these dark areas, the chin and the bags, emphasize her depression more than they show her reading a book.